The ‘Invisible Art’: A Woman’s Touch Behind the Scenes
THAT the Cannes Film Festival chose not to include any work by female directors in its competition this year created a mini-scandal. But it obscured a couple of other points about the state of women in film. For instance, only 2 of the 22 features in question were shot by female cinematographers. On the other hand, a full third of the movies were cut by female editors.
Mostly, this reflects what has always been true.
The “invisible art” of film editing — assembling sometimes chaotic heaps of footage into a coherent, narrative whole — has been practiced by women as long as there has been a cutting-room floor. Early on, women were hired to edit because it was considered menial labor, “something like sewing,” said Kim Roberts, an Emmy-winning editor who has worked on feature documentaries (“Food Inc.,” “Waiting for Superman”).
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Available statistics can be misleading; not everyone practicing a film craft is a member of a professional organization. But according to the Motion Picture Editors Guild, 1,500 of its 7,300 active members (or 21 percent) are women. And a spokeswoman for American Cinema Editors, which will host its annual educational convention, Editfest, in the coming months (New York, June 8 and 9; Los Angeles, Aug. 3 and 4), said a third of its 650 members are women, as are 6 of the 14 members of its board of directors.
By contrast, the American Society of Cinematographers has 333 members and 8 are women. And though the Directors Guild of America reports a 25 percent female membership, it issued a telling report last year: of 2,600 episodes of scripted television made for the 2010-11 season, 77 percent had been directed by Caucasian males.
more: http://www.nytimes.com/2012/05/27/movies/kim-roberts-kate-amend-and-other-female-film-editors.html?_r=1&hp
